May 2011 Newsletter

WARMLAND CALLIGRAPHERS OF THE COWICHAN VALLEY NEWSLETTER ISSUE #50, MAY 2011

Logo designed by Judith Lovell

Newsletter Team

NEWSLETTER ISSUE #50, MAY 2011 Copy deadline for next newsletter submissions is October 15, 2011

Cover Artist: Heading and Titles:

Betty Locke Liz Moss

Page Layout:

Microsoft Publisher 2003

Printing Services:

Copycat Printing & Design

Regular Contributors:

Lorraine Hoy, Janet Peters, Gwyneth Evans, BettyLocke and Linda Yaychuk

Proof Reader:

Denise Rothney

Editor:

Charlotte Whiteley (250-245-5960) e-mail: chaw@shaw.ca

Regular monthly meetings are held on the Second Tuesday of each month from 9am to 12:00pm (no meeting in July and August) Island Savings Centre (Exceptions are Dec. and June) 2687 James Street Duncan, BC

Executive Meetings are held on the First Tuesday of each month at Marilyn Lundstrom’s home from 9am to noon All members are welcome!

Membership in the Warmland Calligraphers guild includes three newsletters published in February, May and October. Annual membership dues are C$20 for Canadian residents and US $20 for US/International Warmland Calligraphers of the Cowichan Valley (the Guild) is a non-profit group formed to facilitate the exchange of information between calligraphers, and to promote interest in and appreciation of calligraphy as an art form within the community.

Membership is open to calligraphers at all levels of expertise as well as those with a love of beautiful writing.

Contents of this newsletter are copyrighted by the authors/ artists. Requests for permission to reprint any part must be made through the Editor. The views of contributors are not necessarily those of the Editor or of the Guild.

Members are invited to submit concise pieces for publication as well as to alert the Editor to conferences, papers, speeches and other matters of interest to our readers.

The Editor reserves the right to make editorial changes in material accepted for publication. These include such revisions or additions deemed necessary to ensure correctness of grammar and spelling, clarification of obscurities, brevity and conformity to the newsletter style.

P.O. Box 2, Duncan, B C, V9L 3X1 Canada

Inside this issue: 2

General Guild Information

3

President’s Message Front and Back Cover Artist, Headings

4/5

Paper Casting with Joan Merrill

6/7

Loft Show

8-10

February Program and Galleria

11/12

Creative Cards 3

12-15

March Program and Galleria

16/17

Exposé

18-20

Thank You Betty Locke

21

Bulletin Board

22

Tool Talk/ Play Time

23

Words, Words, Words/Election Update

24/25

Copperplate Workshop

26

Jottings From The Library

27

Our Friends

28/29

Freeing Your Design

30-33

April Program and Galleria

34

Editor’s Message

35

Survey Results

36

Back Cover

http://members.shaw.ca/warmlandcalligraphers

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Spring is here and the grass has riz.

I wonder where the sunshine iz.

It is a good thing that we have been kept so busy since September that we were only conscious of the rain between workshops and meetings. Some small groups have even been formed after workshops, to consolidate what they have learned and to pass on their new techniques to those who were unable to attend, or just to keep busy.

Our executive has been sworn in for next year, which is our 17th. We already have a full slate of workshops for September and many suggestions for courses that people would like to have. Our membership continues to have many new calligraphers joining us and so we struggle to keep up to their needs.

Lucy Hylkema has taken some of the pictures from our Loft show to hang at Sunridge. Pat Wheatley has arranged for us to hang pictures in the Library at the Island Savings Centre for the summer months again this year.

So rest up, enjoy your summer and come refreshed and energized for September.

Marilyn Lundstrom

Editor’s note.

I am sorry to say that I didn’t get Liz Moss to do a heading for “headings” or send a photo to insert here.

Headings by Liz Moss:

Betty Locke tells us:

Liz Moss writes:

When asked to create a cover for the fiftieth issue of our Warmland Newsletter, I was pleased. An idea came almost immediately sparked by a quote accredited to New York Choreographer, Twyla Tharp.

Her thoughts about dance, are thoughts which we calligraphers employ all the time. Our planning concerns making our letters appropriate, interesting and fresh on our paper. Her planning concerns the dancers, the costumes and music as they move about the stage. The page is our stage and we are the choreographers of that stage.

- starting with a carpenter's pencil & a razor blade, sharpen the lead to resemble a square edge pen tip (you will need an imagination but what fun is art [or life for that matter] if you don't live in "your bubble" as my kids kindly refer to it) - next: using your 'uncial' hand, letter in the appropriate headings and outline each letter with a small pitt pen (or facsimile thereof) - then using a pointed brush (allegra #6) paint your other word slightly over the first (matching or contrasting colors of paint and pitt pen ink are a bonus) - and finally, erase all the lines you can get at, carefully, and if you like, using the carpenter's pencil again, shade along side your brush letters - "ta-da!" completion is the best part! …..now for Betty's homework!

Choosing the number 50, the word "fifty" and the word "issues" and using them in a variety of ways, I tried to convey the milestone this issue commemorates. Different approaches, different arrangements and styles and tools created what I hope is an interesting melange of ideas. It was challenging and fun to celebrate the fiftieth issue in this way.

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handouts. She also provided many samples of her work, photographs and a beautiful hand made card for each person to take home.

With Joan Merrell

Soon after the supplies were distributed Joan gave a terrific slide show and lecture of her work through the years including many students' work, showing how to make a mold, moving the wax paper *not* the clay, how to create a design from a previously done piece of writing or how to design something new for casting. And, of course, the making of pulp using cotton linter.

Joan's supply list was daunting. One of the three toasters failed to operate.

Some things on the supply list were not available on the Island.

Liz MacDonald was most inventive, making a clay shaper out of a coffee stir stick and bobby pin.

Day One submitted by Anne Atkinson The Warmland Calligraphers Guild was especially honoured to host Joan Merrell in the fine art of calligraphic paper casting on a rainy two-day workshop in January. Joan hails from Jefferson City, Missouri and this was her first time teaching such a large group of keeners.

Our first assignment was to produce smaller works experimenting before attempting a much larger piece planned for day two.

We practiced straightforward cuts with deckle edges, reversed letters, border edge and textured backgrounds, chiselled angle with raised deckle edges and multiple layers for varying depths (see photographs as shown at right).

I was most pleased to meet and talk to founding member Colleen McKay from Redmond, Washington who made the most delicious home made chocolate chip cookies! Thank you Colleen.

After Denise Rothney made the introductions, Joan quickly and efficiently delegated many duties to get us started. Everything from dividing up top grade Premo Sculpey™ clay, tools, mat board, pins and extensive

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An amusing thing happened to me on day one. Lorraine Hoy was being helpful in showing me how to operate the toaster oven and pressed the *toaster* button down. In seconds you

can imagine what happened. No offense Lorraine, a lesson well learned. [Editor asks: What happened?]

Of course I was most impressed with

The mold is shown on the right and the finished piece on the left.

the book Joan made out of clay. But alas I have forgotten how it was bound. The St. Louis Calligraphers gave Joan the greatest little book necklace made with a hinge. Oh, yes, the power of suggestion, I am off to make a hinged book! Joan is a mother, daughter, sister, grandmother, aunt, friend, teacher, mentor, calligrapher, artist, writer, reader, collaborator, and has a gift of talking the talk or is it walking the talk?

We all found Joan so patient, kind, knowledgeable and so generous with her time with each individual student.

A five-star workshop.

Thank you so much for coming and sharing your gift Joan; please come again soon.

Paper Casting.....Day 2 submitted by Liz McDonald

After a review of the lessons learned yesterday on day 1 of paper casting, we were on our way to creating our "masterpiece". We were limited only by the size of the toaster oven and our imagination.

We started by preparing our Sculpey Clay ™ and following the plan or idea that we brought with us this morning. Some gals did lettering, others did flowers or embedding and some did a combination. Those who caught on quickly were able to do more than one piece.

Joan spent time with us helping as we went along or as needed and she kept us on schedule.

When preparing the pulp it can be coloured by adding nice art paper.

Some like to colour their project with pastel dust, painting accents or just leaving it white.

Fixing errors was discussed such as how to remedy an undercut or roughness on the mold by adding clay if needed or cutting away the clay that is not needed.

The mold will sometimes warp so adding weight will allow it to dry evenly.

Mounting our piece to background paper can be done by using dots of YES™ glue. Spacers of foam core under double or triple mat might be needed for a deep casting. A light spray of fixative may be used.

Having to pack up and leave was akin to saying "so long" to a friend. I'm certain that many of us will try our hand at doing more paper casting and extending our abilities in this wonderful art form.

Thank you, Joan, for giving such a great class and for your inspiration.

Trudy Kungold Amman put into practise, skills learned at this workshop and was awarded the Award of Honour at the Cowichan Valley Art Show for her paper caste pillow.

Which fellow member of the Warmland Calligraphers of the Cowichan Valley is pictured here?

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This year’s Loft calligraphy exhibition was held between February 5th and March 3rd, once again at Valley Vines to Wine in Mill Bay. Kudos to the twenty three artists who contributed their artwork to make this show a success. Three of the eighty one pieces hung were sold. Twenty decorated envelopes, artfully organized by Judy Lowood, presented a colourful calligraphic display. Joyce Gammie and Marilyn Boechler coordinated this event with the assistance of several guild members. Thanks to Trudy Kungold Ammann for her striking poster design, Eleanor Harris for coordinating the collection of entries, Duncan and Betty Locke for printing the labels, Barbara Qualley for distributing the forms and updating our website with photographs of the entries, and finally to those who helped hang the pieces and take them down at the end. Once again this event was very popular with the public.

Submitted by Joyce Gammie and Marilyn Boechler

Fun with envelopes

Our black and white feature wall

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Special points of interest: Don’t forget to go to our website to see the entire collection in detail.

Show stopper by Betty Locke

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Submitted by Linda Yaychuk During our February meeting Charlotte Whiteley demonstrated various techniques she learned at the ABC 2010 Conference in Red Deer. These techniques involved using masking fluid, sometimes called frisket. We used Pebeo™ brand.

Designs and text were created with the masking fluid using various instruments on water colour paper or cardstock and were allowed to dry.

A colour wash was then applied starting at the top of the page and worked down to the bottom of the page. Once the wash was dry, more masking fluid could be applied and another wash added using the same or different colours.

Charlotte doing some quick pastel washes over the dried masking fluid text. And designs

Charlotte told us the following techniques can be used on a wet wash to add texture and interest.

Sprinkle salt onto the wet paint, allow to dry and brush off. Sprinkle gold Schmincke powder onto the wet paint. Sprinkle walnut ink onto the paint and then drop more water onto it. Use a scoring tool to carefully write words or sayings over the wet paint. Droplets of rubbing alcohol on wet paint add dimensional interest.

Once our piece is dry we used an eraser or our thumb to remove the masking product. A pencil crayon or pen can be used to outline or highlight text in your design. The results of Charlotte's demonstration were some lovely cards and an enjoyable time.

Joyce Gammie using a calligraphy nib to apply masking fluid

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Students’ work

Denise Rothney applying drops of rubbing alcohol to add textural effects.

“Judy Lowood can write Chinese” Betty says. It makes for a nice decorative addition to the quote. Judy found the quote in Chinese on the web and recreated it here. She first did it in red only and found it too washed out so outlined it in pen. The translation was done in monoline with a pigma pen.

She found creating the Chinese characters difficult.

Shirley Johnson’s quote is about giving a sword to a man who cannot dance and her artwork resembles swords. The colours (red and yellow) are also in Chinese tradition.

Ida Marie Threadkell’s wonderful quote “if you have faults, do not fear to abandon them”, is shown artistically with such gentleness.

Betty Locke was feeling the sentiment in this quote about old age and penned it in the elegant Batard. `Old Age` was drawn in pencil.

Marion Craig used the Linz movement we learned at our program last month.

She used felt pens and pencil crayon with a flat edge like a carpenter’s pencil.

Betty was impressed with the illustrations.

Trish Peebles used the “lovely Batard “ hand. Betty liked the focus on the ‘M’ on the word man. Trish moved away from what she was comfortable with.

She expressed that it was difficult.

Trudy Kungold Amman does a Weaver hand. Betty suggested a bit more pressure on the pen. Trudy used a small speedball ‘C’ nib.

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This month’s galleria was a quote by Confucius. Betty Locke enriched the critiquing with art lessons and great suggestions to improve our skills in our layouts and design.

Compiled and submitted by Charlotte Whiteley

Leslie Healy produced two pieces for the galleria. The one featured is the piece Leslie did the night before galleria. She really enjoys the pointed pen and Betty was liking the flow and letter justification; lovely `S’es.

Brush piece by Gillian Mouat. She would have liked to use a longer piece of paper and said this is a work in progress. Betty liked the verticality of the piece.

This piece by Marilyn Lundstrom was done in crayon and the text around the edge is pigma pen. It is pale and therefore harder to read.

Betty reminded us that text is usually written left to right and top to bottom.

Laura Feduk enjoyed using this hand but found the paper too slick. Her entrances in her flourishes were wonderful and her endings are beautiful showing romance and elegance. She initially used ink and went to acrylics and found they worked on this paper better.

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Marilyn Boechler pivoted and rolled an automatic pen for the text. The illustration is watered down Higgins Eternal´ ink using wet on wet technique.

Betty said it was a very fine job and told the group this letter form often makes a letter ‘C’ appear as a ‘K’

Charlotte Whiteley used the Linz movement as well. Betty liked the hand and commented the piece looked anything but cautious. A discussion ensued about the word èrr`. It is hard to end with such a short word. Betty suggested trying the piece in portrait.

middle flower was placed over the original with pop-up sponges; similarly the leaves could be given relief. Using double sided tape the picture was glued to card stock.

Muriel Heggie and Judy Lowood glue strips of torn black and white patterned paper to a sheet of white paper in preparation for Day 2 Classes.

Day One—submitted by Lorraine Once again, many of us were lucky enough to enjoy this clever and well organized class given by Marilyn Silver and Trish Peebles. The first day we created three cards and prepared a background for the session the following week. This is what we did in a nutshell: Glossy accents paper napkin card: This was essentially gluing the most interesting part of a single layer of a flower napkin on to a painted piece of cardboard. A second flower was cut out and glued over the original which was still a bit wet. Before it dried in place, the edges of the second flower were gently lifted with an embroidery needle. This gave the flower relief.

This was then glued to card stock with double sided tape.

Day Two—submitted by Bernice Sutton and Linda Yaychuk

Elephant card: this card was quite stunning and required several stamps and embossing powder. We were given a card with an embossed tree which we carefully cut around so as to insert another stamped piece. An elephant was embossed in gold on decorative black card stock. A bleaching pen was used to lighten the

Oriental Flower Woman: This card was made by stamping an oriental woman on linen cardstock, painting her out and enhancing her with gold pen and Liquid Pearls ink.

We then mounted it on to gold matte paper. We created a background using shiny black cardstock by sprinkling various colours of pearl paint onto the card and spritzing it with a mixture of water and glue which allowed the colours to blend together. Once dry it was mounted onto a black folded card and the mounted oriental woman was placed on top creating a beautiful card for any occasion.

dark hide of the elephant. This was the piece that was placed under the embossed tree and glued in place.

Layered card – three funky flowers: Three different flowers were stamped in an overlapping fashion on water colour paper. The middle flower was repeated on a smaller piece of paper.

The flowers were painted, with the two middle ones in the same colour.

A stem with leaves were added – drawn and painted. The second

The very last thing that we did was to prepare paper for the following week.

This meant ripping ½ to ¾ inch strips from several pages of different decorative paper. These were then glued in alternate light and dark (or not!) colours on to a sheet of white card stock. These sheets would be dried and ready for the next class.

It is amazing what lovely cards we were able to create with the detailed and patient guidance of Marilyn and

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Continued…...

Collage Card Trish and Marilyn explained that collage allows you to tell a story about a person or event in a personal way. It is an artistic composition of objects and materials that should be chosen with the personality of the person or the theme of the event in mind. To

maintain a focus when creating your collage remember to keep it personal.

Focus on proportions-don’t have one piece distracting from the rest of the card. Use a variety of ways to adhere objects. Create a flow in the work that draws the eye through it and create visual lines through the use of ribbon and various materials on hand.

Tux Tags On the first day of the class we were given a variety of patterned papers in shades of black and white. We tore these papers into strips and then glued

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•

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Submitted by Marilyn Silver • Paper Treatments by Joyce Gammie and Judith Lovell, This past summer Joyce and Judith attended the ABC 2010 Conference in Red Deer and participated in a session with Reggie Ezell that focused on tools and techniques. At the March meeting they shared many interesting and informative points about materials and techniques. Some of the highlights for me included: • Always rub down your nib with Gum Arabic before starting work

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and when changing to a different writing fluid.

Use a mild soap or brush cleaner (Masters Brush Cleaner is good) to clean paint brushes. Never use detergent as it removes natural oils from the bristles.

Saral ™ carbon paper is erasable and reusable. It comes in a variety of colours and is available at Art World in Victoria. The graphite grey is $2.50 per foot which they cut off the roll. Other colours may be available by the sheet.

Spraying paper with hair spray or an adhesive will make it less absorbent and give sharper pen strokes. Hair spray is generally less expensive than fixative and works just as well but may need a few more coats. We were given time to test out a variety of papers that had been sprayed and not sprayed. It was interesting to see the different effects when using both ink and watercolour. In general the sprayed paper is less absorbent and gives sharper pen strokes.

The Tough Stuff Eraser Stick by Papermate™ is good for cleaning around gold and erasing in tight spaces. It is available at Art World in Victoria.

For great colour backgrounds go to www.hubblesite.org. The Gallery has many images taken by the Hubble telescope that you can run off on your home printer. I tried it and it is amazing.

Thank you Joyce and Judith for sharing so may great ideas!

them side by side on another piece of paper. The next day we were given various sizes of commercial tags which we traced onto the back of the glued strips. After cutting them out we decorated them in various ways which are too numerous to mention.

This card technique lends itself well to the use of calligraphic words and phrases.

Marilyn and Trish introduced us to so many wonderful ideas and techniques that it’s no wonder we keep coming back and begging for more.

Editors note: Joyce used Arches Text wove in her printer for great results.

By Charlotte Whiteley This month’s galleria was to do an alphabet and create a focal point.

Betty Locke lead the discussion and critique for this month’s Galleria. It was an exercise in exploring principals of art such as what is value and what is light and dark cherascuro……

Chiaroscuro in art is characterized by strong contrasts between light and dark, usually bold contrasts affecting a whole composition. It is also a technical term used by artists and art historians for using contrasts of light to achieve a sense of volume in modeling three-dimensional objects such as the human body.

Not only does Betty enlighten is with Calligraphic information, techniques and elements of art, but she uses really interesting words that require a dictionary at hand when writing this article.

Trudy Kungold Amman thought the focal point was supposed to be on every letter. She used ossa rama letter forms. Betty said there was joy in the triangles.

Marilyn Boechler played with “freeing your design” She wasn’t sure the white round area worked but it did fall below the half way point.

Joyce Gammie’s piece was elegant and peaceful even done in the vertical format. She used techniques learned in the Lorraine Douglas workshop.

Shirley Johnson got inspired for this piece. She used her good paper and added water to the white to get grey tones. She glued on the A, X,Y and Z. Lovely piece with two focal points.

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Marion Craig’s abstract piece was created with inspiration from two artists, Egon Sheil and Paul Klee. Some parts were drawn and some parts were cut out.

Pat Wheatley did a water colour piece and made her gray from the primary colours. The big ‘A’ was the focal point. She told us she used a “Hake brush” made from rabbit hair.

This is my galleria piece for March, after several tries. The first two lines were so light they didn't come through on the printer. Looking forward to seeing what others did in the Newsletter. Anne Atkinson

Betty Locke told us she was stuck with what to do and as she worked on her piece she added more details and it just evolved.

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Leslie Healy used an uncial hand and Betty loved the powerful uncial combined with the quiet of the monocline. Leslie wondered if she might have added colour. Betty wasn’t so sure.

Judy Lowood tells us the A is her focal point.

Ria Lewis put in a lot of work and her enjoyment of the miniature workshop shows in this piece. She thought she was not free enough in her design.

Trish Peebles told us she did not have any classes in this hand but liked the look. The piece took you along and if there was any comment to be added, it was stated there might be more rows of letters and less white space.

Ida Marie Threadkell’s piece was a combination of wonderful verticals and horizontals. Ida Marie used vials of gray for different intensities and she added water to get more variations.

Marilyn Lundstrom experimented with the placement of a colour dot. The letters were lovely and the piece was enjoyed by the guild.

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allowed to choose a toy from a large cart. She became a regular member of the panel and the show ran for another three years.

Did you figure out who that photo on page 5 was? Allow me to introduce this beautiful, talented, witty young lady: Miss June Mack (a.k.a. the Reverend Dr. June [Mack] Maffin, B.A., M.Div., D.Min., C.S.A., and a.k.a. Mrs. June van der Werff).

June confided that her parents' courtship could have been the love story of the century: the beautiful love letters handwritten by her father, along with flowers delivered to her mother backstage on Broadway where she was a dancer, catching every performance he possibly could in New York, until finally the production went to Montreal, his hometown, and he was "allowed" to take her out for dinner under the watchful eye of a chaperone.

Neither parent had much education, but they were determined to provide their children with every opportunity to ensure they did not follow suit. Her father was selftaught, (had to leave school after Grade 3 to go to work and help support the family), became a successful stockbroker, operated a thriving antique store in Montreal, was an art consultant for the Ottawa National Museum and is listed in Canada's Who's Who. Her mother immersed herself in her family. June's parents undoubtedly played a huge role in June's life. Throughout her childhood, her parents' mantra was "God has given you a voice, use it; God has given you a brain, use it; God has given you two feet, use them."

Elocution lessons for June were taken because of a speech impediment. Practicing pronunciation with her teacher, along with joining the Montreal Children's Theatre at the age of seven, her stutter was cured and the teasing stopped.

A Montreal TV producer, Roger Racine, spotted June hiding behind a curtain at the Children’s Theatre when he was seeking young talent for a TV show, Small Fry Frolics, where they (the children) were to be asked questions by experts from different professions. June, nine years old at the time, was among the four children chosen for the programme. There was no salary; rather the children were

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Roger Racine went on to produce Funtime for the CBC, and once again wanted June in the cast. Various commercials for television followed, as well as appearing in films for the National Film Board. Throughout her childhood and early teens she played leading parts in "A Midsummer Night's Dream," "Little Women," "Hansel and Gretel," "Circus Day," and "Of Mice and Men." (By now she was a member of the Montreal Repertory Theatre).

In her junior year of high school, June became seriously ill and her parents were advised to move her to warmer climes.

Maternal grandparents resided in Florida so the whole family moved and stayed a year. Fully recovered, June was anxious to write her matriculation exams in Montreal; another move for the family! In the spring of that year she successfully auditioned for the Stratford Shakespearean Festival (Ontario). Suddenly there were decisions to be made: Stratford or matriculation. Her parents allowed her to make the choice; she wrote the exams and at 17, enrolled in evening classes at Concordia University for an undergraduate degree in Sociology, working towards a law degree, specializing in criminal law.

Within a short space of time her days were taken up with studies, as well as co-hosting a three-hour daily radio show, Like Young, and co-hosting her third TV show Like Young, which aired every Saturday. She was also President of the Law Society at Concordia. In an issue of Teen Magazine (September 1962), the opening paragraph regarding the TV show, Like Young, reads: "Take a neat 'n sweet package of personality with brown hair, laughing brown eyes, and a favorite expression like "Right Now," and you've got the picture of June Mack, at 18 the sparkling star of Like Young, the CFCF-TV show that's been flipping Canadian teeners for more than a year."

During her time at Concordia, and a visit to a prison facility - which was "a frightening experience" - her career objectives changed and she wanted to become a teacher.

June taught at a public school of 4,000 students on the South Shore of Montreal and described it as a "rough and difficult" school. Towards the end of the 1960s, the uneasiness over escalating FLQ activities and their threats to her father prompted a move to the West Coast. Finding it impossible to obtain employment as a teacher on the Lower Mainland, she joined BC Ferries as a Public Information Officer. It was work she thoroughly enjoyed, but there was harassment in the workplace and consequently she moved on.

Her then-husband was choir director at their local Anglican church and for moral support, she accompanied him, and would tell him how wonderfully the choir had sung! After listening to the sermon once and almost falling asleep, she decided she would sit at the back of the church in future so

she could sneak out, visit a girlfriend and be back in time for the final hymn without being missed. Bad timing one day, though. At the end of the service, with a glint in his eyes, the priest took hold of her hand and said he would love to see her at Bible Study on Thursday. He had caught on to her capers! With some trepidation, she accepted the invitation, and this was the turning point for June; she had met a ‘holy man’ who didn't have all the answers and encouraged his parishioners to express their opinions.

An advertisement for Sunday School teachers prompted June to enroll in a three year Master's Degree of Theological Studies in Vancouver; she wanted to work with children, but being new to the church needed to know more about her "subject." Not long into her degree she was encouraged to switch to the longer Master of Divinity programme, which at that time meant she would be one of the "pioneer" group of women ordained into the Anglican Church of Canada.

She was apprehensive, found it difficult to accept she had this vocation, but time has proven she did. She was ordained in 1985, and entered a two-year curacy programme at St. Cuthbert's in North Delta. She moved to the two-point parish of St. Hilda's in Sechelt and St. Andrew’s at Pender Harbour, both on the Sunshine Coast, as Senior Pastor in 1987, and then to St. John's in North Vancouver, the latter position being for ten years. June was nominated several times for bishop, but for a variety of reasons felt it was not her calling. She received her Doctorate in Pastoral Care with an emphasis on Ethics in 1992.

In September of 2001, she became Chaplain at St. Michael's University School in Victoria teaching Communication Skills, and was responsible for the pastoral care and leading of chapel services for almost 1000 students and faculty within the three campuses until February 2004 when she was diagnosed with mercury poisoning which atrophied her muscles including her voice, left her unable to read for a year and severely affected her left-brain faculties.

A member of our Guild since 2007, June married Hans van der Werff in Duncan on October 17, 2009 (a Warmland member since 1998—see Issue 39 for Exposé on Hans). The "other" man in June's life is her son Tod, of whom she is so proud. Since his early teens he has volunteered for numerous groups involved with children and teens and so much more. She talked of his courage and values in dealing with bipolar disorder and addiction and how he has spoken to mental health organizations, educators, trying to raise awareness about these

illnesses. He has been very successful in the communications field (radio, TV, Internet), the speaking circuit, and continues to inspire people with his life story, vulnerability, and openness. See below for link to his website, which is just one of the countless links to Tod. (I watched some of his video presentations; they are inspiring!)

Now almost recovered from mercury poisoning, June serves as pulpit-preaching supply minister, and conducts funerals/ memorial services for various churches and funeral homes; facilitates “Soulistry” (coined word meaning “Artistry of the Soul”) workshops helping people connect spirituality and creativity; is a book reviewer, magazine and book editor; teaches about Sacred Dying/Holy Grieving; offers retreats on The Spirituality Of … (Aging; Self-Care; Discerning Beauty; Play, etc.); moderates CBCO (Calligraphers of British Columbia Online); and facilitates Creative Spirituality Writing workshops and retreats. Her third book, just published, “Soulistry- Artistry of the Soul: Creative Ways to Nurture Your Spirituality,” is an excellent resource for calligraphers, has been reviewed by internationally-known calligrapher Sheila Waters and features the quotes of almost eighty inspirational people including well-known calligraphers Denis Brown, Gwen Weaver, Alice Hancock, Gemma Black, and Peter Thornton.

June's list of achievements and activites is monumental, not the least of which are the four art groups she hosts each month in her studio: TAG (Tuesday Art Group), THAAG (Thursday Afternoon Art Group), and a morning and afternoon CMG (Card Makers Group). I am honoured to have been afforded this opportunity to write about her life. I wish I had more space because there is still so much to share. Links are listed below, please … P-L-E-A-S-E … take the time to look at them, especially the YouTube video from Like Young.

Thank-You for sharing, June.

Soulistry Website: www.soulistry.com Book Reviewer Info: http://goo.gl/VLEpk Funtime: http://www.tvarchive.ca/database/17082/ fun_time/details/ Like Young: http://video.google.com/videoplay? docid=7165423147635383419# (YouTube) www.todmaffin.com

Submitted by Janet Peters

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This 50th issue of the Warmland Calligraphers of the Cowichan Valley is dedicated to esteemed founding member Betty Locke. Betty, along with Judith Lovell, was the first editor of the newsletter and her continued involvement with many aspect of the guild is evidenced by her extensive art work in the gallerias, covers, shows and her ‘Bulletin Board’ creations for our newsletter publications. Betty has done eight cover pages, and four headings for past editions.

Thank you Betty for the gift of you…...

EDITOR’S NOTE: All are direct quotes and have not been edited to maintain the original integrity of the stories as told by their authors. Compiled by Charlotte Whiteley

Dear Betty It was "many years" ago we first met at a workshop in Great Falls, MT. The unusual workshop, "Notan", taught by Jenny Groat, was a study of design "contrasts". It was my day to be lucky and be seated next to a pretty, blonde, bubbly woman whose accent didn't quite match my Montana way of talking. This "newbie" didn't quite know what to expect of the workshop and of you! But we really hit it off with each other.

You had a big bag or either a big fishing tackle type box which was chock full of all kinds of strange type tools, paints, pens, etc. (I had a small cloth bag with a pen holder, a nib, a bottle of black ink and a roll of papers required.)

Betty, you told me you were a Calgary calligrapher/instructor - I couldn't believe my luck. It was an "opportunity" to watch someone who knew the ropes! You went into your "teaching mode" and during breaks and the lunch hour, many of the mysterious things were brought out showing me how they worked. You made some awesome letterforms for me, all the while giving hints and tips. Much of it sailed right over my head, but I knew eventually my little brain would start to unravel all of this & sure enough it has happened.

For a newbie, it was such fun to be coached and to talk and have fun during that weekend. I have never forgotten this, because you instilled in me a feeling that perhaps someday I could become "a calligrapher". We laughed a lot over the funny, strange shapes we made in black and white papers, mine being that of a grade schooler, yours being wonderful little works of art.

We've corresponded early on by snailmail and exchanged Christmas cards. Your good salesmanship skills made me become a Calgary guild member to receive a grand newsletter.

These were a hit with me and the Missoula Guild Members. Now belonging to the Warmland Guild, the newsletters are great and I am still keeping track of you, Betty.

We've seen each other at some conferences and when there had been time shared life stories.

We have since graduated to "email" and write a few times each year - keeping me in the loop of your teaching gigs. Duncan sends out a

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travelogue of your hoofing it into many parts of the world, your curiosity and resilience are wonderful.

Betty - you are one in a million and you "never waiver" from keeping people focused on "letterforms". You don't want us getting off track, just keep improving our letters.

Congratulations on this event and the celebration for you.

Love and Hugs, Wilma Hardenburgh Missoula, MT There are many great stories about Betty...but I would like to say how much I owe to Betty as the consummate "teacher's teacher". I love her invented words as in the phrase "That looks a titch puntzy".... and how she never "shillyshallies" around The greatest thing about Betty is that she encourages everyone. Last year she sent me an email asking me to teach "Pointed Brush" in Duncan. Me? Teach "Pointed Brush"? I had never taught it before. Of course in her email she said those words we all know so well: "I know you can do it."

So of course when asked by Betty and told I could do it....I did do it and was so excited to teach a new tool and technique! Thank you Betty!

Lorraine Douglas The guild members: Sixteen years ago, I read

in the Duncan newspaper that a calligraphy course was being offered and the instructor was Betty Locke. A brand new challenge for me. Betty was so inspiring and positive (even when she was correcting our errors). My favourite quote: "Now class, remember when you finish off a flourish, bring it back to mother". I like to think that Betty was referring to herself and that we are all "her children".

Thank you Betty for being a gold thread in my tapestry of life.

Colleen McKay Ida Marie Threadkell says “if Betty is teaching, I am taking.”

My friend phoned one day to tell me that I owed her 33 dollars as she had enrolled me in a calligraphy class. I was expecting Copperplate, although I didn't know the name of it then, and was totally surprised when I had to buy these huge nibs (C1and C 0). So I arrived with my shoebox with the nibs, a pen holder, ink, paper, ruler, eraser, and pencil. My shoebox and I found a spot out of the way and watched as people arrived with suitcases full of goodies, and they all went to the front of the class. ( I was thankful at that point that my shoebox and I were sitting where we were) And then Betty arrived. It was Nov. 29 and she was sporting an orange wig and a necklace of ghosts and pumpkins. It was at that point that I spilled my ink!!!! Thus began my love of calligraphy and Neuland.

Marilyn Lundstrom

really didn't know where it was! Sensing my frustration, total sense of being overwhelmed and near tears, Betty gently guided my hand, with most of her arm under the table, as not to be obvious to anyone that I did not know what I was doing. From that moment on, she had a tremendous influence on my learning then teaching calligraphy. Betty and I have been room mates at several conferences and worships. Duncan was part of the package which made my friendship with Betty richer with his quick wit, generosity and of course his amazing table offerings! They provided a "haven" of sorts when I struggled through some difficult times, always making their home my second home. I could write a short story filled with laughs, experiences, and adventures I've shared with Betty and Duncan! It's been a joyously fun ride so far!

Connie Furgason-Card conniefurgasonstudio.blogspot.com Geesh, Betty Locke-what can you say? or, what can I say only "knowing" Betty through a handful of Warmland Calligraphers guild meetings. However after a few encounters and inspiring lessons by Betty I can safely say one of the most wonderful, warm and magnificent calligraphers on the planet! One of these days I can only hope Betty is my friend as well as my mentor of the written word. Susan Miller

In late 1994, Betty Locke moved from Alberta to the Cowichan Valley. In January 1995, Betty began teaching "Beginners Italic" at the Community Centre - I was one of those students. The first class, with her pointer aiming at each of us, Betty said, "state your name and the reason you wish to take Italic"!! We did enjoy the course and at the finish, Betty persuaded 12 of us in that Italic class to form the guild, Warmland Calligraphers of the Cowichan Valley. Through the past 16 years, Betty has been a good friend to me and the inspiration in having the guild grow from our little group of 13 to a membership of 95.

Eleanor Harris " Pretty darn decent" These are the words we all love to hear from Betty. Shortly after joining the Guild, I took an Italic course from Betty. I handed in a homework assignment and as usual Betty was very positive and constructive with her words. I believe that was the first time I heard those words "Pretty darn decent". I walked away feeling like a true Calligrapher and ready for the next challenge. I still have that piece and it is "pretty darn awful" but I can see how much I have grown thanks to Betty and others like her. One thing hasn't changed though. I still wait to hear those words"Pretty darn decent".

Linda Yaychuk I first met Betty at a calligraphy workshop in Vancouver at Langara College. I was a selftaught "had no clue" calligrapher when I sat beside Betty in my first official class with Martin Jackson. When Martin wanted to start us with foundational at a 35 degree pen angle, I

Betty’s Song Sung to the tune of A Bicycle Built for Two Betty, Betty oh how she loves to sing When teaching calligraphy or any other thing It could be a tip on Bookhand Or how the letters should stand But you can be sure Her thoughts are pure And focusing on good writing.

by Marilyn Silver

This is a true story. Once upon a time, several years ago, around the year twenty zero one I was taking one of Betty's classes she said to me "when are we going to see one of your pieces at the Loft?" My answer at that time was ". . . I don't feel comfortable". No sooner had the words come out of my mouth, Betty's response was "When are you going to feel comfortable, when you are dead?" Those words have resonated with me ever since. Thank you so much Betty. You are the best.

Anne Atkinson In February 02 I took a Caps course with Betty. You know how she always has little booklets or cards with quotes as a farewell present for us. I treasure them very much. We usually did something too. Anne Atkinson had made a book and asked us to do a page each.

This is my contribution: We never knew there were so many nibs With which a scribe can scribble scripts, And that of scripts there were so many, And of the tricks we knew not any.

But now we're getting wise and wiser, All thanks to Betty, let us praise her The important thing for me is that there never was a discouraging word from her. I was not

used to being praised for anything, whatever I did was just taken for granted. I am not really a born calligrapher, but her praise - deserved or not, made me want to do more and go to great length to produce something.

Brigitte French In January 2007 I took my very first Italic calligraphy course from Betty Locke at the community “Elder College” program.

The following brief quote made a great impression on me because I had never thought of doing calligraphy in this meaningful way.

Betty Locke said as we worked on our new practice pads, “A page is but a stage on which you perform.”

Marion Craig As Elder College was not offering a watercolour painting class one session several years ago, I decided to try a class in calligraphy as our painting instructor had mentioned several times that some calligraphy might go well with our pictures. I was bowled over by the energy and enthusiasm of our instructor, Betty Locke. I had never met anyone quite like her! She captured my attention instantly and continuously with her sense of humour, her easy smile, her attention to detail, her acceptance of who we were and what we were capable of giving her, at the same time pushing us to give her more and better work. She might shriek that she hated what we were doing one minute, and praise us for our efforts the next.

My favourite expression that she used was (and still is) that she is old and we are young! It took me a while to figure out that she meant in our calligraphic experience, not in age! I have always enjoyed the puzzled expression on the faces of people who don’t know her when she uses this expression! From that very first class, I was hooked on lettering, and have taken any opportunity that I could to take another class from Betty. It is always a great deal of fun, many laughs, and a lot of hard work, but the things we have learned and the things she gets people to produce are amazing!

Denise Rothney “And your assignment for this week is…..”

Betty introduced me into the world of calligraphy – and re-introduced me into the world of homework with an Italic class. Life has never been the same since. Betty is so anxious to share her artistry and knowledge with everyone that she sweeps us all along on her tide of wonderful enthusiasm. But it is her acts of thoughtfulness and just the “Betty” person which have left an indelible mark: an encouraging word when you least expect it; and helping with special words and actions. In Betty’s class there is always: a stretching of the mind; fun and laughter; homework; high expectations; joy of learning (and there are always masses to learn). Thank goodness for the Betty’s of this world!! In anticipation and expectations of more to come, with exhaustion, but in thankfulness, Pat Wheatley

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Our family moved to Duncan, January 1997.

The first day there, I enrolled my children in school and as soon as that was done I took myself straight to the community centre and enrolled in Betty's Italic class. Taking a calligraphy class was something that had been on my "Bucket List" for many years and I was excited to begin. I had no idea that my one calligraphy class would lead to more. You mean Italic isn't the only kind of calligraphy?. Betty enlightened me on that point and others. In fact, Betty has had such a profound effect on me, to this day if I want to buy a set of rubber stamps, I always tell the clerk, "Please don't tell my calligraphy teacher I bought these."

Chris Vanier To Betty Our Betty is quite a doll As guys once said, when she was small.

She’s witty and her giggles ring Throughout the room when she’s teachering.

She struts her birds, her babes do bounce Her style is classy -- we love her flounce.

She’s our teacher tried and true.

Let’s cheer for Betty: Here’s to you.

With love from Mary Beth Nelson I first met Betty in the spring of 2000 when I enrolled in her 'Foundational' class through Elder College. Right from the first day, Betty's enthusiasm and energetic teaching style had me hooked! Since that time, I have enjoyed many classes with Betty and learned so much through various interactions with her. Thank you, Betty, you are an amazing calligrapher, artist, teacher, and friend who inspires me to continue on this calligraphic journey.

Joyce Gammie

My first class with Betty was in 2000 in her Foundational Class.That was the first time I'd picked up a calligraphy pen since high school 40 years before. I haven't put my pen down since which says a lot about my first experience. I've always admired Betty's teaching skills and appreciated her personal touch to whichever class I've taken with her over the years. It's the tiny details to her instructions that stay with me as I try to perfect the skills. It is a pleasure working with Betty and meeting up with new challenges.

Her dedication to the art of calligraphy is contagious and I admire what she has done to spread this appreciation to people all over the world.

Marilyn Boechler

Betty: right from the get go, I have admired, been inspired by, and totally love this lady. I feel truly blessed that she has been a part of my life and cannot express how much she has done for me both in mentoring, encouraging and teaching me in all ways possible! She was one of my rays of sunshine through my dark depression, and my journey back to light. ( I know one thing for sure she was so gentle with me while taking her classes and as most know she expected "homework"to be done... but with me, she was more than understanding and just kept encouraging me to come to the classes regardless of whether I was able to do my work or not, and I really was not able to do it at that time, but she just knew that and kept me going) Bravo Betty!!! You are truly one in a million and I want to thank you with all my heart, Leslie Healey

I went back through my practise pages to get this one- In "Roman Caps" Betty used so many hilarious phrases to describe us, so many "Bettyisms," that I actually took notes. We were " the ink-stained wretches", "the screw tops", " the bastard hands" and my favourite "the saggy bottoms." Don't they sound like names for rock groups! A favourite memory of mine from a Betty Locke class- we students were being too timid, too "teensy", too predictable. After prodding us with "No, No No! " a few times Betty suddenly burst forth into her chicken song "There ain't nobody here but us chickens! " That got a big laugh, and we got the point! Shirley Johnson Thank you for your sense of humor and laughter that accompanies every class you give.

What would an early morning class be without “Good Morning, good morning” and the images you conjure up for us!!!

Charlotte Whiteley

It is with North Cowichan Mayor John Lefebure and Duncan Mayor Mike Coleman when she received her Life Membership at our 10th Anniversary Show at the Telus Lobby….

Submitted by Linda Yaychuk The Bendable Ruler The Bendable Ruler is just that- a ruler that bends. It is made from flexible plastic that can be bent into shapes such as circles or wavy lines.

It is 1/4" thick and 3/8" wide with measurements in inches and centimetres.

Create wavy lines by bending it to the shape you want trace with a pencil then move the ruler down your page and trace again. You can see from the photo how letters can then be placed between the lines and colour added.

This piece can be found in the book 'Hand Lettering by Marci Donley and DeAnn Singh' which is in our library.

The ruler can also be shaped into ovals or circles. By tracing the outside and inside of the ruler you can create a frame around your shape.

Submitted by Lorraine Hoy

Method:

Texture with Gesso (from Anne Atkinson)

Using a credit card apply gesso to card stock or water colour paper using a large sweeping circular motion leaving some spots with no gesso.

The colour will be darker on the spots with no gesso, and lighter on the areas with gesso.

Supplies: gesso card stock or watercolour paper (e.g., 140 lb Canson) soft chalk pastels old credit card cotton balls gum arabic exacto knife

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Let dry and then wash card immediately.

Scrape pastels onto an old plastic lid, adding a few drops of gum arabic

and water to produce a creamy consistency.

Dip cotton ball into above mixture, using a large circular sweeping motion, and apply to paper.

Let dry, and now you have a beautiful background for calligraphy.

Many thanks to Anne for her idea, and all her samples.

This little ‘play on words’ comes to you from Janet Peters. Thanks for filling in for Gwyneth Evans this issue.

Please join me in remembering a great Icon of the entertainment Community.

The Pillsbury Doughboy died yesterday of a Yeast Infection and trauma complications from repeated pokes in the belly. He was 71. Doughboy was buried in a lightly greased coffin.

Dozens of celebrities turned out to pay their respects, including Mrs. Butterworth, Hungry Jack, The California Raisins, Betty Crocker, the Hostess Twinkies, and Captain Crunch. The grave site was piled high with flours.

Aunt Jemima delivered the eulogy and lovingly described Doughboy as a man who never knew how much he was kneaded.

Born and bread in Minnesota , Doughboy rose quickly in show business, but his later life was filled with turnovers. He was not considered a very smart cookie, wasting much of his dough on halfbaked schemes.

Despite being a little flaky at times, he still was a crusty old man and was considered a positive roll model for millions.

Doughboy is survived by his wife Play Dough, three children: John Dough, Jane Dough and Dosey Dough, plus they had one in the oven. He is also survived by his Elderly father, Pop Tart.

The funeral was held at 3:50 for about 20 Minutes.

If this made you smile for even a brief second, please rise to the occasion and take time to pass it on and share that smile with someone else that may be having a crumby day and kneads a lift.

Our Executive as of April 1, 2011 will be as follows: President Marilyn Lundstrom Vice President Joyce Gammie 2nd Vice President Denise Rothney Treasurer Muriel Heggie Special points of interest:

Secretary Shared by Trish Peebles & Linda Yaychuk Membership Judy Lowood Committees: Program Denise Rothney Newsletter Charlotte Whiteley Library Pat Wheatley Workshops Betty Locke & Marilyn Boechler CVAC Pat Wheatley Three positions were filled.

1. Vice President – Joyce Gammie 2. Treasurer – Muriel Heggie 3. ½ time Secretary – Linda Yaychuk

It should be noted here that most positions are for a two year term. Pat Wheatley has been our historian for a few years and is passing this on as she finds wearing three hats messes up her hair so to speak. If you want to learn more and think this is the job for you, contact Pat or Marilyn Lundstrom.

Charlotte has resigned her editor position and after our brainstorming meeting in May, people will be called upon to rally and help out with the production of the newsletter.

Janet Peters has resigned as the Exposé writer and interviewer. Please talk to Janet if you would like to do this job and need more information.

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With Marilyn Lundstrom enthusiasts. With only one course under his belt he felt confident enough to apply and get a calligraphic job. His one course was not enough, however, and so he spent a great deal of time learning and perfecting what he needed for his new job.

Submitted by Trish Peebles This March, 15 calligraphers from our guild completed a 4 week course in the ornate Copperplate Hand. Our instructor was our very own President, Marilyn Lundstrom. It was a fun filled and informative workshop. Marilyn had taken a Copperplate course in Red Deer from Mike Kesceg at the ABC 2010 calligraphy conference. One of the books Mike’s work can be seen in is The Speedball Textbook by J. C. Fink et al.

Mike is credited with being a modern pioneer of new variations in copperplate which have become increasingly popular with pointed pen

Our first class was spent learning and practicing the lower case letters.

Marilyn emphasized the importance that one go slowly in this hand. Even though Copperplate looks like one continuous pen movement it is made up of several separate strokes. It is written at a 55 degree slant and the spacing is different than other hands.

Copperplate does not go by pen width but by a 3,2,3 ratio. The letters and words are close together. For example, if you want your finished work to be ¼ inch in height then you take half of that number, that is divide it in two which gives you 1/8 inch.

Multiply 1/8 by 3 to make 3/8 of an inch.

writing. This becomes the ascender line. From this ascender line, measure down 3/8 of an inch to make the waist line. Measure ¼ inch and draw your base line. You would be writing on this line. Measure another 3/8 inches and draw a line and this is the line for the descender line. Then you start again, measure 3/8, ¼, 3/8 and so forth giving you a 3,2,3 ratio.

We were shown how to do the

To start, draw your first line, as far down from the top as you want to start

Capitals including a number of variations for some of the letters. An example of this is letter ‘S’. One way to write it is much as we learned in school but the form that is used most often looks much like an L.

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Denise Rothney had been commissioned to do a piece of poetry. She did it in Copperplate and we had the opportunity to see the rough copy and then the finished project in which she had incorporated dry embossed leaves. It is beautiful!

Marilyn explained that one needs to practice the basic strokes used in Copperplate prior to using this hand. We used Higgins Eternal ink – which we had left open for two days prior to taking the class allowing it to thicken slightly making it stay on our nibs longer, and progressed to using watercolour.

The homework the participants did was varied. It is always interesting and gives one great ideas on where and how to use a calligraphic hand. Those who have more of an artistic bent incorporated their art into their calligraphic pieces. Others used flourishes, borders, and different placement of words on the page. Everyone’s work was well done and unique.

Several books were recommended by Marilyn.

One of her favourites is Mastering Copperplate Calligraphy, A Step-by-step Manual by Eleanor Winters. Check it out. You can find it in our library.

Marilyn learned and passed on several tips for doing Copperplate. She explained how to use graph paper to accurately line your good copy.

It is important in Copperplate that you draw your lines for writing as well as the slant lines directly on your good paper. We learned how to square the tops and bottoms of our letters while the ink is wet. Another tip which we may have forgotten and really should do is to use a guide sheet to rest our hand on so that we do not transfer the oils from our hand onto our paper.

This can make the ink skip.

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married couple; poet Keith, and artist Renate Worthington. These books you can dip into as they offer all sorts of ideas for word and letter play.

Submitted by Pat Wheatley and Janet Peters Activities Janet and I met on a couple of occasions to take stock of the library and to familiarize ourselves with stuff that is there and stuff that isn’t there!

We thought any newsletters older than 2005 should be distributed to the membership for an extremely modest fee.

We then put the newsletters in “year” files, allowing the Warmland newsletters to remain in their own files. In fact Warmland has a library section all its own with early beginnings, and 10th anniversary binder. But then there are always exceptions - I took home a file containing newsletters from: The Regina Calligraphy Society, the Hamilton Calligraphy Guild, Niagara Calligraphy Guild, The Calligraphy Society of Ottawa and the Chinook Calligraphy Guild, Lethbridge. Their dates were 1999-2003. They all deserve a place in the library, and they all deserve to be looked at!! We do not receive these newsletters any more, so the above mentioned have been retained in a file of their own. It struck me how much wonderful work is done by unsung calligraphers who do it just for fun!

Another day Janet and I went through matching books and their numbering with the Web list and noting books in the “dead” file.

Recommendations.

Two DVD’s well worth a look. 1. The Illuminator: The St John’s Bible and its coming to life. 2. Reggie Ezell’s Year Long course in Calligraphy.

Poet on a Cargo Plane and Puffs of Breath are two books of poetry by a

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Fred Salmon’s Take a Letter. Every letter has a history and many forms.

Analysis of the alphabet and the right and wrong way to create each letter is amazing!

Recent newsletters.

Bow Valley Calligraphy Guild, February 2011.

This issue is devoted to visiting the studios of local calligraphers and work that is half completed, just and idea, discarded for lack of inspiration.

It makes for really interesting reading.

Betty has a page devoted to her work.

Something that fascinated me – p.18, The Sator Square I won’t tell you about it, but have a look.

Edmonton Calligraphic Society Fall 2010, Cover – Betty Locke. This issue covers ABC Red Deer 2010 Giving details of the many workshops, huge variety of courses, tools used showcasing calligraphy in all its glory.

Edmonton Calligraphic Society, Summer 2010. Contains an interesting introduction to lemon juice printing, making book covers, making books from one sheet of paper, an account of a visit to San Antonia and finding a busy guild way down in Texas, lettering on canvas. And you can learn all you want to know about Boustrophedon!! Yes, go and have a look!

Following Debbie Thompson Wilson's class last fall (Medieval Illumination), her guild, Royal City Calligraphy Guild - More Than Just Letters, decided they would like to be in a newsletter exchange with us, and here are some details about the first two issues we have received: Royal City Calligraphy Guild, Fall 2010 features a coloured centre page detailing artwork created by members

after they were given a challenge for the summer months. All received an envelope with exactly the same artsystuff for them to play with. Delightful pieces featured!

Royal City Calligraphy Guild, Winter 2011 Article by Debbie Thompson Wilson, page 2, gives details on making and decorating Book Ghosts from Twinings and Bigelow tea bags.

These can be hidden into a favourite book to be discovered later by another reader. Debbie calls them little tokens that will bring a bit of joy, art, and good wishes to the finder. An interesting profile on pages 6-7 on guild member Marlene Pomeroy, a calligrapher, bookbinder and book artist. And a yummy recipe in this issue: betty's date balls - No relation to our Betty Locke!

Fairbank Calligraphy Society, March 2011 Brilliant graphic piece by Heather Waters on the cover of this issue, and an interesting article on Relief Printing, a "Shareshop" class given by Janis Diner Brinley. As noted by editor, Alice Young, there will be lots of interesting happenings in the very near future for Fairbank members, so we must stay tuned.

There is now a list of books by number kept in the library stack and also books by category (put together by other than the present librarians) so if you are looking for a particular technique or subject it may be easier to find with the help of this list.

And last but not least, we keep practice pads in the library stack and should you need one in the summer months for all the calligraphy that will be going on in your lives, please phone me, I (Pat) have some at home.

250-748-4159.

Practice Practice Practice 11” x 17” practice pads are available for only $8.00 At the Guild Library

Submitted by Charlotte Whiteley

So much going on. . . . .

This beautiful shown above here is a piece about spring done by Anne McDonald. Our guild had to bid her farewell as she lost her battle with cancer. She was featured in February’s newsletter (Issue # 49) exposé article

by Janet Peters. Janet said Anne didn’t want to talk about the sad aspects of her life. This quote by Anne say “April prepares her green traffic light and the world says GO”. I think it describes Anne’s spirituality and zest and vigour for life. Friends and family were invited to an afternoon tea to raise a glass or cup, have a few laughs and to bid adieu on April 16th.

We will miss you Anne.

Trudy with her ribbon and pillow. .

The Cowichan art Exhibition was held in Duncan in April with our own Trudy Kungold Ammann taking award of honour for her paper casted pillow. Bernice Sutton and Pauline Johnson also produced some great pieces.

We need to thank Eleanor Harris.

This fine lady has served on the guild executive every year since April 1995.

She started out on the phoning committee (no e-mails automatically sent then). She has been our treasurer for years and recently co-chaired Island Magic with Barbara Qualley. It was so nice to see her at the meeting partaking in the program last April and we look forward to seeing her galleria pieces soon.

Thank you to Janet Peters for her exposé write-ups. We will need a replacement soon. It was one of the items noted in the survey people really enjoy. Janet was able to get some very interesting information and told me she really enjoyed doing these. So thank you Janet and if you change your mind, we won’t say no.

Please note the correction from February Newsletter Issue #49. The candle holder piece was credited to Lorraine Douglas. It was not a piece done her but one by Georgia Deaver.

There is a lovely book in our library with great quotes called “Aphorisms”.

New members: We would like to welcome the

following new members, Jim Ward, Carolynn Dallaire and Pat Unger.

Welcome to the guild folks!

Congratulations: To June Maffin. She will be launching her book ‘Soulistry, Artistry of the Soul’ in May. ISBN #: 978-1-84694-615-8 Soulistry Website www.soulistry.com And to Mary Beth Nelson on her soon to be published novel ‘Catla and The Vikings’ on shelves 2012.

‘Island Magic’ mentoring funds have been awarded and will be used to assist Marilyn Silver for a Creative Mixed Media course that she will be attending in Calgary this spring and Janet Peters for a course in Phoenix Arizona, USA called Iampeth Pointed Pen. Congratulations gals.

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With Marilyn Boechler

April 7, 2011

Submitted by Pat Wheatley Fourteen members of Warmland, armed with their usual enthusiasm, met in the Mesachie room at the Island Savings Centre on April 7th to “free their designs” under the leadership of Marilyn Boechler. How does one usually begin a piece of calligraphy?

For a galleria we are given guidelines and criteria, or we have a quote, script and past workshops with lots of “how to’s”. Well, change all that! Marilyn attended Yves Laterme’s Red Deer workshop and learned to start work from an entirely new angle.

Step 1: Cover sheets of paper with marks and strokes of all descriptions.

Use any tool, and be as free as possible. Using several sheets of paper gives lots of potential for development.

a text area, remembering words add texture to the work eventually. Yves Laterme said “think of the obvious place for the text – then go somewhere else”!

Each participant then talked about their own work, initiating helpful input from the rest of the class. It was a great morning! Three hours that could possible “free one’s calligraphy”!

Thank you Marilyn B. Other examples of finding your thumbnails to expand your ideas and free up your design.

Step 2: Isolate with matt “elbows” segments of the random scrawl and pick out those that appeal, changing the shape of the frame and zeroing in on small areas, but making sure white space is left. Pick out and use a pencil to find several areas that might suit as a background. This could possibly be done as a team, picking a neighbour’s brain for ideas.

Step 3: Cut out chosen areas and reproduce on new paper. Do several, possibly 4 or 5 before progressing to partially fill in with colour. Keep the colour muted and leave white space!

Step 4: Greeking, that is the scribbling in of possible placement for the text. Experiment with pencil, not using actual words, just block off

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Step 1 followed by step 2 examples by June Maffin,

Step three, ready to start lettering.

Isolating scribbles and then enlarged it for step three.

Step three complete and ready for calligraphy

Hans van der Werff sizes up his scribbles and selects a thumbnail upon which he can expand.

Bernice Sutton chose her thumbnail and shaded it for adding calligraphy later.

Charlotte took her piece and edited it further as out-lined. She did some ‘greeking’ in this piece.

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Submitted by Linda Yaychuk April Meeting Program Carolingian Hand During April’s meeting Barbara Qualley shared some of the aspects of the Carolingian hand which she studied at a workshop given by Sheila Waters during the 2010 ABC conference in Red Deer.

The hand was developed in the 19th Century and adapted by Sheila. It is meant to be a little faster and more fluent than other calligraphy hands.

Although the ascenders and descenders are extremely long you can adapt them to your needs and applications.

The pen is held at a 20 degree angle and the letters are written with a very slight slant. Rounded letters are more oval than circular and ascenders go slightly above the line. There is a fair amount of space left between the lines of letters which helps when forming double letter descenders.

You can find more information on the Carolingian Hand in a section of ‘The Speedball Textbook’ which is in our library.

Ria Lewis, new member Jim Ward, and surprise, Eleanor Harris. Various others in the background and Ida Marie Threadkell in the foreground.

Barb holds up ‘Foundations of Calligraphy’ by Sheila Waters.

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Hard at work. This bunch was very quiet for this lesson.

April’s galleria was to do a piece in monoline and to create some texture. Betty Locke lead the discussion.

Compiled and submitted by Charlotte Whiteley Mary Beth Nelson used skills learned in Marilyn Boechler’s “Freeing your Design” class to create her first ever piece using an original haiku, for the galleria.

And what a nice piece it is.

The word is texture and the piece displays plenty of it.

Marilyn Boechler did a technique called‘greeking’ (all kinds of words and letter forms in no particular order).

Pat Wheatley did her monoline piece and then enhanced the letter forms.

Betty made a suggestion that Pat could have maybe added a bit more space around her text.

Janet Peters used a poem

by Graham Nash and had some fun with the art work.

The viewer is drawn to the blue hair. The text is done in pencil. Janet has used a kneaded eraser to pull up some of the pencil graphite , creating a quiet texture.

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Ida Marie Threadkell is a fabric artist as well as a calligrapher. The monoline was done in threads and ribbons she found on hand.

Charlotte Whiteley’s monoline piece used a single line to draw the flowers and crosses. The piece has a lot of things going on. Charlotte wasn’t happy with the use of filler text for texture and Betty suggested that when text goes in an upward direction the piece can depict an uplifting sentiment which was not the case with this piece.

Trudy Kungold Amman said she was confused by the exercise. She drew the letters and filled with a round paint brush. Betty said it was a charming piece.

Marilyn Lundstrom told us she was tired of the rain and wanted her piece to reflect her desire to see some sunshine. She used “Hunt” round nibs and liked them a lot.

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Gillian Mouat did a whimsical piece about time, and the sentiment is so true.

This is a work in progress that Gillian plans to do again using a thicker nib.

Betty gave us this piece using a cute quote by Sylvester Stallone. The vertical lines were done three times and round letters got a single stroke creating nice texture. Betty used a “B” nib for her quote.

Denise Rothney created a wash background and drew the large letters which she painted in. The monoline text is then woven in between the drawn letters using watercolour.

This piece on ‘monoline’ by Linda Yaychuk was produced using 10 different tools and various hands. It was a process of trying out the words and playing with placement. She shared her practice pieces with us.

Ria Lewis continues to enjoy playing with miniature work. She did say she was disappointed that there was not more texture in her piece. This was her third go at it. This is a jaberwokey poem.

Marion Craig continues to do some lovely art work and played with perspective. Betty enjoyed her shadows under the lamplighter letters.

After twenty seven hours Marion said this was her practice piece!

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ley hite ed) W te retir rlot Cha n to be (soo This Issue marks the 50th time the Warmland Calligraphers of the Cowhichan Valley have published their newsletter. It has numerous editirs and has undergone many changes, sizes and shapes, going from a ‘cut and paste’ production style to a computer generated document. But the one constant has been a publication members can be very proud of.

first time colour was used. It was a special issue and is worth taking a little look at in the library. This anniversary issue featured a great story about Betty written by her husband Duncan and a poem “Ballad of the Bag Lady” by Shirley Johnsonin tribute to Betty.

An "In Appreciation" award was given to Betty for lifetime membership. Quite a ten year run!

The first newsletter was published in the spring of 1995, before the guild even had a name. Betty Locke and her Husband Duncan cut and pasted and also did the type set and layout design for the newsletter. Judith Lovell was a co-editor. It was 12 pages, 5 ½” by 8 ½” in size. Memberships cost $20.00 and entitled you to four newsletters a year.

Betty and Barb continued to edit newsletters until issue # 36 where the guild welcomed Denise Rothney and Janet Peters as new editors and the implementation of Microsoft Publisher. Barb Qualley was back in the editor seat for issues #41-#43 bringing Charlotte Whiteley on board as trainee where upon Charlotte (that’s me) took on the job full time at issue #44 to date.

Issues #3 to #10 were edited by Judy Matheson. It was in this period the guild went to three publications with a fourth done as a bulletin. Barbara Qualley came on the scene to help Judy and added her touch. Barb took over the editing duties for #13 to #16.

Janice Brown was our next editor for #17-#22. Issue #23 was the first of the larger format that we use to date. It was a special issue and was edited by Barbara and Betty. Betty and Barb edited issues #23-#28. We moved forward with technology and said good-bye to cut and paste with ‘Adobe Pagemaker7. It is also important to note that while Barbara Qualley was editing the newsletter she was also the President of the Guild.

Pat and Jocelyn MacLauchlan came on board and were in training to take over editor duties for issues #29-#35.

By issue #27 we had adopted the full size and Issues #29- #34 were edited

by Pat and Jocelyn.

In May 2005 the 10th Anniversary Issue #32 was published and was the

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The next 50 newsletters will no doubt bring more changes but one thing we will always strive for is to bring a comprehensive picture of the guilds activities and feature the fantastic members of the guild.

sending in points of interest, organizing shows, giving workshops and many, many more. Thank you to the members who recently submitted the surveys and added comments and suggestions.

We have a publication to be proud of and all for an annual membership fee of $20.00.

This little gem was submitted by Janet Peters. Thank you Janet. Next time you are practising your calligraphy and working on the alphabet and want to put words to the letters, this might be a fun practice.

A wife asked her husband to describe her .....

He said, 'You're A, B, C, D, E, F, G, H, I, J, K.' She said, 'What does that mean?'

He said Adorable, Beautiful, Cute, Delightful, Elegant, Foxy, Gorgeous, Hot.' She said, 'Oh that's so lovely. What about I, J, K?' He said, 'I'm Just Kidding!!!'

Big thanks to all the members for their support writing articles, taking Photos, making presentations, taking notes, Colleen (McCartney) McKay is a founding member of the Warmland Guild. She was one of the group that took Betty Locke's very first Italic class when Betty moved to Duncan from Calgary.

This is an excerpt of the Minutes from the first Newsletter, Issue One, Spring, 1995: Choosing a name was rather a complex task and took about an hour. . . before the decision was made to call it Warm Land Calligraphers of the Cowichan Valley, a name suggested

by Colleen McCartney who was unable to attend the meeting."

Survey results

36 responses. (Note we have 96 members) 27 respondents said the newsletter was very important to the guild.

26 said they read over 75% of the newsletter, only 4 respondents said they read the newsletter on the web.

Very few said they would like to be more involved with the newsletter production. And generally most of the respondents were happy with the production of the newsletter with the one exception being photo quality.

* Re involvement - find it hard to concentrate on class if I have to write as well. * Really enjoy "Playtime" and use them.. The time and effort put into it is much appreciated and does not go unnoticed. * Charlotte I think you do a great job my only comment is about reproduction. I would like to see better graphics and photo quality even if it means shorter articles and fewer Photos.

* The newsletter has never been better thanks to your new ideas. thanks again for all you do. I think it is an amazing compilation of the activities within our club and adds to the success of our club. Thank you. * You are doing a fine job of it all like info included for the gallerias but be careful with the notes when quoting. * Love the extra colour this month.

Would like to see details about the guild on the back page cover.

* I really like the comments you added to the Galleria sections. I learn a lot from studying these. I like the small print too! You are taking a lot of care with this and putting your own stamp on it- detail, variety, and presentation- all outstanding. I love the newsletter and read it through at least twice. I loved getting the medieval workshop in colour.

Playtime is a feature I look forward to getting and read first.

* Our newsletter is an especially good one. It is so professional. This is even more exceptional as it is done by volunteers. It is, has been and continues to be as well done as many commercially done publications and more about appreciating volunteers.

* like the borders of the participants, You're doing a great job.

* Lots of new features have been added this last year- congratulations Charlotte. Love it all especially learning about other members and what they are learning and doing.

* You can learn a lot from the publication. Keep up the great work. I really enjoy the newsletter -very informative and lots of variety.

So What Can We Conclude Here?

liked it just the way it was. Maybe that is because they didn’t want to get roped into newsletter duties.

Here is an excerpt of some of the general comments: What is your overall satisfaction?

Please comment! * I enjoy every article in every issue.

Keep it up.

Many of you enjoy the newsletter.

Many of you find it important to the guild.

Many of you like to get your copy and read it in paper form rather than reading it on line.

Few of you want to get more involved in the production of the newsletter.

Some of you didn’t respond for various reasons. Hopefully what a few members told me was they didn’t respond and that was because they saw that there was no problems and

The production of the newsletter has evolved into a team effort. There needs to be a little more help. A brainstorming group has been organized to see if there might be a new direction we should be headed.

Hopefully this team can bring you a new and improved newsletter. I have resigned as the editor and can’t stress enough the need for more members volunteering to ensure interesting articles and reporting on the guild’s activities.

The survey results in their entirety will be posted on Warmland’s web site under the tab ‘newsletters’ .

* Since moving to the USA in 1995 the newsletter keeps me current on what is happening at the guild. I love receiving the envelope in the mail.

Now let me tell you a little story about the Little Greying haired newsletter Editor who one day comes into the barnyard and announces “who will help me produce the newsletter?”

You can be a photographer, reporter, scanner, runner, paste it in *er, writer, recorder, distributer and any small job to make the load lighter for any one person.

I hope you will read this and think to yourself, “ I can do that and I will volunteer.”

It has been a pleasure to have been a newsletter editor the past three years.

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WARMLAND CALLIGRAPHERS OF THE COWICHAN VALLEY NEWSLETTER ISSUE #50, MAY 2011